Solomon, Prophet and the King, has asked God to give him an ideal kingdom which has never been given to anybody before. He is told to prepare himself and his subjects with evil and unearthly creatures that haunt the men.

IMDB: In 2004, when Iranian Parliament approved the budget of the big production movies, Mojtaba Faravardeh suggested Solomon's life story and it was accepted to be the first Iranian big produced movie. There was many arguments why not an Iranian great honor of history to be filmed and there is yet.

After 2 years of researches over history and testaments, the group decided to write the screenplay just based on Holy Quran. The researches were not only about story line but also about set and costumes, and new technologies in nowadays cinema. So the group made many trips to many countries and after all they found Leo Lo as Visual Supervisor and Kinson Tsang as Sound Mixer that both of them were from Hong Kong. Again many argues begun why not European and Western Specialists? Mojtaba Faravardeh who became the Producer of this project at that time answered: "The first problem is western sanctions and second is different believes of us and them about Solomon and third is our Iranian specialist to be trained."

'The Kingdom Of Solomon' filmed from May 2006 to September 2007 in 9 months but with 5 months of standby for lack of budget. The group spent one year for post-production and the film was going to 2009 Fajr Film Festival but it didn't because Christianity New Year holidays and Chinese New Year holidays stopped foreign group to finish visual effects. After that stop, group finished the film and sent it to Chan Kwong-Wing to compose music for 'The kingdom of Solomon'.

The film was ready now to be screened but 2009 presidential election and events after that made group to send the film to 2010 Fajr Film Festival and at there 'The kingdom of Solomon' nominated in 9 parts and caught 5 Crystal Simorgh for best Visual Effects, best Music, best Sound Mix, best Make up, and best supporting actor by Mahdi Faghih who acted as Aara the Magician. But most of Iranian reviewers were not satisfied with the film quality since for the first Iranian big production movie that had five million dollars of budget, the result was acceptable.

These argue brought farther the release date and after all 'The kingdom of Solomon' movie released on 7 October 2010 in Iran and made 2.5 million dollars revenue until today. We should also remember that because of no good film, Iranians loosed their habit of going to cinemas. The film is going to be screened in Middle East countries and some other parts of the world after its screening in Iran finishes.

Shahriar Bahrani- writer and director- made his best in the first Part of Solomon trilogy as he did in 'Saint Mary' (2001) movie before. He promised to do better in making 'The kingdom of Solomon' following parts and I know he will do.

'The Kingdom Of Solomon The Prophet (Part One)' will be out soon and I recommend you to watch it.

2001: men without jobs, in the port city of Vigo. Six men worked in a shipyard, now shuttered. They pass the time at La Naval, a bar opened by one of them after the yard closed. They face their futures in makeshift ways: Rico has his bar and a sharp 15-year-old daughter, Reina has become a watchman and a moralizer, Lino fills out job applications, Amador drinks heavily and talks of his wife\'s return; José is married to Ana, who works at a cannery and tires of being the breadwinner amidst José\'s emasculated moodiness; Santa, the group\'s conscience and troublemaker, occasionally fantasizes about Australia. In truth, all are joined like Siamese twins, adrift.

Tigri (Laurette Luez, working her way up to Bomba and Bowery Boys films) and her stone-age girl friends hate all men, but realizing they are a necessary evil, capture some for potential (strictly business, no recreation allowed) husbands. Engor (Allan Nixon, working his way down to the Mesa of Lost Women) escapes and, in his travels, discovers fire. This comes in handy later, after he has been recaptured by the women, when he drives off a dragon, or something, with his new discovery. This little feat has the effect of making the women realize their rightful subservient position, and he and Tigri have a primitive (non-catered) wedding, and go off to start a new tribe of fur-wearers.
This is from IMDb (by Les Adams), I do not speak a perfect English, so I prefered to be sure of it.

Once the ugly duckling in the Dorset village of Ewedown, Tamara Drewe returns to sell her late mother\'s house, now a glamorous journalist with a life-changing nose job. She awakens feelings in sexy old flame, Andy, the decent odd job man at pretentious author Nicholas Hardiment\'s writers\' school and in Nicholas himself, a serial philanderer who cheats on his loyal wife Beth. But Tamara has a new man in her life, Ben, an obnoxious rock drummer whose marriage proposal she accepts, to the dismay of local girl - and Ben\'s biggest fan - Jody. Jody\'s efforts to sabotage the engagement lead to Tamara, on the rebound and finding Andy in the arms of another, allowing Nicholas to have his wicked way with her, and also allowing it to be photographed and sent to a distraught Beth. Beth\'s secret admirer, American writer Glen, confronts Nicholas out in the fields, but Ben\'s dog Boss has got loose and has caused a local farmer\'s cattle to stampede towards them, an event which will shape the futures of everybody.

It is 1995. The summer when the war operation Storm will take place. Boro, who is going to be forty in a year and a half, with his wife Jasna and son Luka goes to his home village Drinovci, Herzegovina, after seven years. He wants to see his brother who managed to leave Sarajevo with his family. Boro knew that his brother was wounded, but when he sees him after many years, he discovers that the brother will spend the rest of his life in wheel chair. Boro constantly fights with Jasna, and he doesn't speak at all to his father Pako, whom he blames for his mother's death. In two weeks in August 1995, Boro will solve the years long dispute with his father, he will learn to be a better husband and a father.

Follows a pair of married couples, Alfie (Hopkins) and Helena (Jones), and their daughter Sally (Watts) and husband Roy (Brolin), as their passions, ambitions, and anxieties lead them into trouble and out of their minds. After Alfie leaves Helena to pursue his lost youth and a free-spirited call girl named Charmaine (Punch), Helena abandons rationality and surrenders her life to the loopy advice of a charlatan fortune teller. Unhappy in her marriage, Sally develops a crush on her handsome art gallery owner boss, Greg (Banderas), while Roy, a novelist nervously awaiting the response to his latest manuscript, becomes moonstruck over Dia (Pinto), a mystery woman who catches his gaze through a nearby window.

Lusting for their nephew, three women gain custody of him from his grandfather. Funny erotic italian comedy featuring the gorgeous Femi Benussi, Orchidea De Sanctis and Pascale Petit.

This tatty sexploitation film deals with a young man who lives with his grandfather. His three aunts lust after him and finally manage to gain custody thanks to a naive but well-meaning priest, leading to the usual game of musical beds, only slightly enlivened by the taboo theme. Femi Benussi and Orchidea de Santis are probably the best-known castmembers to Eurotrash buffs....

Sometime during the 19th century in Switzerland: After a delirious night of drinking, three herdsmen who are all alone in the alps with their kettle, create a female doll from cloth and a strangely formed wooden root. When their creation comes to life in form of an evil and beautiful female demon, they have to fear for their lives...

IMDB: A small child and her elderly neighbor are having all kinds of small adventures in the streets of Tehran to get a sack of rice. This is a minimalist film where nothing and everything happens depending on how you look at it. This is Seinfeld Iranian style from a child's point of view if you like. This movie is very different from your ordinary Hollywood kind of child movie. It is utterly unpredictable, very humane and extremely warm in its depiction of normal every day people. It also gives the viewer a rare glimpse in the poorer areas of southern Tehran. The actors here are playing themselves, so if you ever feel like to see a film that is not pretentious, warm, funny and goodhearted, then grab the smallest kid in the family and get to the theater.

Necchi (a bar owner), Perozzi (a journalist), Melandri (an architect) and Mascetti (a broken nobleman) live in Florence. They have been friends since their youngest years and spend every free moment together organizing complex and terrible jokes to all the people they meet, or just wandering around Tuscany. One of these crazy trips ends up in the hospital run by military-like Professor Sassaroli. Melandri falls in love with his wife, and steals her from the husband, much to the delight of Sassaroli himself. The relationship won't last but the Professor becomes the fifth member of the team of friends, and jokes get even more complicated and powerful.

Humble and introvert Muharrem lives in a solitary and meager existence of a prayer and sexual abstinence adhering strictly to the most severe IslamÄ±c doctrines.He extraordinary devotion attracts the attention of the leader of a rich and powerful Istanbul religious group and he offers him an administrative post as a rent collector for their numerous properties. Muharrem's new job throws him into the modern outside world he has successfully avoided for so long. He soon witnesses conflict attitude toward alcohol consumption and goodwill.He notices that he himself has become proud, domineering and even dishonest.To make matters worse, Muharrem's inner peace is unnerved by the tormenting image of seductive woman who tempts him in his dreams,both night and day.With the balance of his devotion now upset,his fear of God begins to eat away at his senses.

A woman is led by her family to her new husband's home, to live with, presumably, his elderly mother and younger brother. Despite being forced into the marriage, she discovers that he is not such a bad catch after all but domestic bliss does not last long.

eyeweekly.com: A product of the up-and-coming Kazakhstani film industry, this dialogue-free historical family drama about a young girl’s sexual awakening and subsequent arranged marriage uses its vivid images to evoke some of the primal power of silent cinema. It’s a beautiful-looking film with a keen sense of atmosphere — and bonus points for the downright Popol Vuh–esque musical score. Still, there’s something about the dialogue-free style that keeps these characters distant. At least silent film characters had the benefit of intertitles.

Three teenagers are confined to an isolated country estate that could very well be on another planet. The trio spend their days listening to endless homemade tapes that teach them a whole new vocabulary. Any word that comes from beyond their family abode is instantly assigned a new meaning. Hence 'the sea' refers to a large armchair and 'zombies' are little yellow flowers. Having invented a brother whom they claim to have ostracized for his disobedience, the uber-controlling parents terrorize their offspring into submission. The father is the only family member who can leave the manicured lawns of their self-inflicted exile, earning their keep by managing a nearby factory, while the only outsider allowed on the premises is his colleague Christina, who is paid to relieve the son of his male urges. Tired of these dutiful acts of carnality, Christina enlists the elder daughter for some girl-on-girl action...

"Syberberg's 7-hour-long magnum opus Hitler, a Film from Germany was originally presented on German television in four parts. Syberberg presents a simple theme: Such evil as occurred in Hitler could never have existed without the support, however unwitting, of the rest of humanity. The presentation is the stuff of nightmares. The music of Hitler's beloved Richard Wagner is included to suggest a sort of decadent, modern Wagnerian opera. Syberberg's vision is not an optimistic one; it is forthright and brutal in its honesty, a vision of humanity's dark, unsettling dreams.

Susan Sontag was one of the most perceptive critics to engage Hitler, A Film from Germany, calling it "The most extraordinary film I have ever seen". The film itself, made in twenty days of shooting after four years of preparation on a budget of $500,000, caused an enormous controversy when it was released in 1979, and continues to call for responses, both positive and negative, in critical circles today.

Syberberg's two themes are film and Hitler, the art medium of the twentieth century and the subject of the twentieth century. One might include here all of the permutations of these two terms: Hitler as film, Hitler in film, film as Hitler's privileged medium, and our own, contemporary construction of Hitler as one that is, ultimately, cinematic in the sense that Hitler functions as a 'screen' for many of the internal projection machanisms of modern mass culture, Germany in particular. These two themes in their entwinement are articulated and interrogated on a grand, even 'mythic' scale, enacted theatrically on a stage, combining and mixing different modes, genres, media: the puppet show, the fairy tale, circus, morality play, philosophical dialogue, and, of course, film itself." - Steve Gallagher (filmmakermagazine.com)

Six New Yorkers juggle love, friendship, and the keenly challenging specter of adulthood. Sam Wexler is a struggling writer who\'s having a particularly bad day. When a young boy gets separated from his family on the subway, Sam makes the questionable decision to bring the child back to his apartment and thus begins a rewarding, yet complicated, friendship. Sam\'s life revolves around his friends-Annie, whose self-image keeps her from commitment; Charlie and Mary Catherine, a couple whose possible move to Los Angeles tests their relationship; and Mississippi, a cabaret singer who catches Sam\'s eye.

One of the most important French films of the 1970s, Jean Eustache's marathon drama focuses on three twentysomething Parisians in a bizarre love triangle: Alexandre (Jean-Pierre Léaud) is a seemingly unemployed narcissist involved with both a live-in girlfriend (Bernadette Lafont) and a Polish nurse (Françoise Lebrun) whom he picked up at a café and with whom he begins a desultory affair.Despite its deceptively rambling manner, the film effortlessly intertwines its characters' psychological dilemmas with a portrait of its cultural moment with a revision of a wide swath of film history from Truffaut's Jules and Jim to Jean Renoir's Rules of the Game to Ernst Lubitsch's Design for Living. This experimental classic is not for all viewers, but it's an unforgettable, and historically indispensable, experience for those who can stick with it. ~ Leo Charney, All Movie Guide

Part documentary, part mockumentary, part sexploitation, all Jess Franco. Well sort of. Tucked in between stock footage is a quasi-documentary about the loss of sexual innocence. Starting in the Garden of Eden we are taken on a voyage around the world that covers various rites of passage and cultures deflowering of the virgin. The film sits precariously in a mixture of genres, but sits comfortly in the mondo genre best. Told in a series of vignettes you see everything ranging from native stock footage inserts to footage shot to titillate the masses. Very tongue in cheek, I wouldn't call this a serious study but I'll give Jess credit for trying to pass it off as one. Good or bad is irrelevant when talking about a Franco film. Franco mixes the good, the bad, the beautiful and the ugly…usually in the same film. This one appears to be rather obscure and its' occasional funny moment will most likely appeal to Francophiles everywhere.

Longtime couple Venla and Antero come to a serious impasse. After years with Antero, Venla wants to start a family, but her boyfriend, worried that parenthood will stifle his speed-skating career, secretly gets a vasectomy. Determined to have a child, Venla seeks help from a female fertility doctor, a decision that breeds new possibilities for the prospective mother when she falls in love with the doctor.

This is a story of strange, impossible, inexplicable love between a Muslim Turk woman and a non-Muslim Bulgarian man. Ivan (the Bulgarian) is a pure and romantic young fellow, who gets caught up in the so-called "regeneration process" (when ethnic Turks' names were forcibly changed to Bulgarian ones). He is responsible for the official seals, which is required to issue the new identity documents after the forced name changes. The schoolteacher Ayten tries to steal the seals, thinking that this way she can slow down the ethnic genocide. Their unexpected and unusual meeting brings these two characters together and makes them fell close, forcing Ivan to take a fateful decision -he must either "rename" Ayten, or face the consequences if he does not. Later on fate bring them together once again. Ayten's small child is killed during an action by the special forces. Ivan, who has been among the main participants of this action is paralyzed with shock...

IMDB: One of the most unusual films in recent times that you may happen to see. But then, in my opinion Mazzacurati has always been unusual among Italian directors, due to his sensitivity and his (very un-Italian) understatement. "The passion" tells the story of a group of assorted people, bound together by the most unlikely (and, in some cases, unfortunate) circumstances, who find themselves busy staging the tale of the passion of Christ on a Good Friday in a Tuscan village, an old tradition that is still alive all over Italy. Among the characters, sometimes bizarre but seldom really improbable, two in particular stand out: an obscure, alternative film director that finds himself in a phase of creative stalemate and an ex thief turned actor (and a very bad one at that; or rather not?).

As in other films by Mazzacurati, losers are bound to stay that way, not to turn into winners; you're not in for cheesy Hollywood crap. And yet, those characters are not desperate: without even realising it, they are heroes of sorts in that they manage not to fall into despair despite the hardships of life. That happens, rather than by a deliberate choice, by clinging to sort of a little voice inside that tells them not to betray what they feel they believe in. They sometimes seem not just to suffer, but even to pursue humiliation and defeat; but, in spite of that, they retain, almost by accident, a deep-rooted naiveté and sense of humanity that makes them, in their own way, heroic and easy to sympathise with.

That happens in the lives of most of us; that is why the film is deeply moving and, sometimes very funny. It helps that the cast features several comedians, more (Corrado Guzzanti, who plays the vain Manlio Abbruscati) or less (Marco Messeri, by now a familiar presence in Mazzacurati's films, or Fabrizio Battiston) known by the Italian general public, with a penchant either for the bittersweet or for the downright sardonic.

Three girls\' summer canoe trip down the river Kolpa becomes a journey into fear when they discover that the wooded riverbanks not only conceal the frontier between Slovenia and Croatia, but also the border between the permissible and the forbidden, and that it is the self-styled Guardian of the Frontier who draws the line.

Angyali üdvözlet, aka, The Annunciation, is a surreal account of the history of humanity as portrayed entirely by children between the ages of 8 and 12...

Country: Hungary
Language: Hungarian

IMDB Comment:

A masterpiece of modern existentialism
A downbeat, hypnotic retelling of Mankind's story from Adam and Eve to the present, played entirely by children. But don't expect a romp -- these kids are deadly serious as they tackle issues of mortality, religion, and the struggle of class against class. Brilliant photography enhances the deliberate pacing, yet the film is never boring. Literary sources include Emily Dickinson and William Blake, and every line is delivered with full conscious intention. Especially effective is the Byzantium sequence, where a single syllable (homousios, or homoiousios) means the difference between life and death. Seldom has the narcotic influence of religious power been so effectively portrayed. The use of a cast composed entirely of children is a conceit that lends itself to preciousness, but here it succeeds without the least trace of "cuteness". In sum, a daring, challenging, and ultimately worthwhile experiment.

In Ambricourt, a young Priest (Claude Laydu) arrives to be the local parish priest. The community of the small town does not accept him, and although having a serious disease in the stomach, the inexperienced and frail priest tries to help the dwellers, and has a situation with the wealthy family of the location.

Robert Bresson, in his fourth film, explores one man's crisis of faith through a simple story of frequent narration where a new priest (Claude Laydu) arrives in the French country village of Ambricourt to attend to his first parish. The apathetic and hostile rural congregation rejects him immediately. Through his diary entries, the suffering young man relays his internal theological confrontation that threatens to drive him away from the village... and from God. Director Bresson began to implement his stylistic philosophy as a filmmaker, stripping away all non-essential elements from his compositions, the dialogue and the music, exacting a purity of image and sound. This film language leaves us with nothing except to bond with our protagonist. This can be seen as cinema in one of its purist forms.

Diary of a Country Priest is the first masterpiece by the great Robert Bresson, a towering and slow-working figure in French cinema. Starkly adapted from a successful novel by Georges Bernanos, the film locks in to the mind of a sickly, ineffective young priest trapped in an unfriendly rural area. Bresson charts the priest's collapse with a series of brief scenes, a minimalist style that makes the slightest touch of a hand or far-off sound of a dog barking seem magnified in importance. (This is a movie that must be watched and listened to--it is not a casual experience.) Bresson's luminous portrait of faith and worldly humiliations takes on the intensity of a saint's notebook. In the central role is Claude Laydu, one of Bresson's early experiments with non-actors; his sad, open face is often in close-up, lighting our way into a world of private salvation. (Robert Horton)

Gunther Strobbe (Kenneth Vanbaeden) is a thirteen-year-old boy growing up in the eighties. He lives in his grandmother's ramshackle house in a small Belgian town with his alcoholic father (a postman with more bars on his route than any of his colleagues) and three alcoholic uncles. Life in the household is clearly dysfunctional, yet it's hard to condemn the Strobbe men for their sins. Their hearts are in the right place – it's just that they can't seem to help turning everything around them into an unmitigated disaster. The Strobbes enter drinking contests, ride bicycles naked, pick up women, break furniture and invade their neighbours' homes to watch their beloved Roy Orbison on television. They teach vulgar songs to little girls and end up in hospital, then head right back to the bar the next day. Gunther is an observer in this broken home that reeks of cigarette smoke, spilled beer and sweat-stained clothes. He participates in his drunken uncles' shenanigans only to fit in, hiding his true passion for writing, which is ultimately his key to escaping this squalor.

Dhobi Ghat (Mumbai Diaries) is the quiet and stirring story of four disparate characters who slip away from the comforts of familiar moorings and are inexorably drawn into compelling relationships. Fragments of their experience seen through a naïve video diary, black and white photographic images, and painting form a portrait of a city and its people, bound together as they journey through longing, loneliness, love and loss.

French superstar Catherine Deneuve stars in this downbeat drama about the fine line between love and need. Deneuve plays Hélène, an attractive but aging housewife who keeps a lover, a young artist named Paul (Xavier Beauvois). Hélène is strongly attracted to Paul, but isn't sure if he's interested in her mind, her body, or merely her checkbook. Paul, on the other hand, is attracted to Hélène, but finds her too clingy and possessive; he wants to get away, and sometimes uses heroin as a means of escape. One day, Paul meets Serge (Daniel Duval), a well-known artist Paul would like to work for some day. Paul learns Serge's story is a troubled one; he took part in the student uprisings of the May '68 General Strike, ended up in a mental hospital, and lost a wife to suicide. Le Vent de la Nuit (Night Wind) features an original score by John Cale, a founding member of the ground-breaking rock band the Velvet Underground. ~ Mark Deming, All Movie Guide

Masami Akita aka Merzbow is one of the most prolific “noisicians” in the Harsh Noise genre, with over 300 releases since 1979 that range from 5 cassette sets packaged inside VHS boxes and limited edition CD-R’s to the 50 CD Merzbox and the ULTRA-limited edition of Noise Embryo that comes packaged inside a Mercedes. Merzbow takes his name (and indeed much of his inspiration) from Dada anti-artist Kurt Schwitters and his house-sized installation, Merzbau.

Aside from creating his symphonies of cacophony Masami Akita has also written books and articles on extreme culture and Sadomasochism, lends his services as a freelance writer to a variety of pornography magazines and has directed / acted as consultant on various Harakiri and Kinbaku fetish films. He also scored the film Deadman 2 for the director of this documentary, Ian Kerkhof (aka Aryan Kaganof).

Over the years I have managed to amass a fair amount of Merzbow’s output, but I have never really known much about the man himself, other than the fact that he digs bondage and animal rights. So when I discovered Ian Kerkhof director of the brilliant Tokyo Elegy and Nice to Meet You, Please Don’t Rape Me!, had made a documentary on this Japanese enigma, I had to find and view it immediately.

Suspecting that Egyptian cinema has remained obscure over the years due to its derivative nature and lack of an innovative auteur, I ventured into another of its higher regarded works--Hussein Kamal's 1971 adaptation of Adrift on the Nile (Thartharah fawq al-Nil). Based on Nobel Laureate Naguib Mahfouz's novel about middle-aged hedonists, the film plays like a watered down La Dolce Vita in Cairo.

A dramatic film, set in the midwest, examines the consequences of an interracial relationship. Although Sheila Smith, who's black, and "Honky" start out as only friends, the two eventually fall in love. But their simple teenage romance turns tragic when resentful whites interfere -- with extreme violence. Features a score by Quincy Jones.

"A sailor arrives at the port of 'Buenos Aires'. while at the same time appearing as a Dandy at Fegina, the 'Riviera' of Monterosso al Mare (Konrad Bayer in a double role). Both are connected in a mysterious way through some kind of 'inner monologue'. A stylish, cool beauty (Suzanne Hockenjos) is getting bored by the Dandy, so he shoots down the sun from the sky, possibly in order to impress her. But a very erotic Eve (Ingrid Schuppan) catches the sun and takes it away from the Dandy. Now he shoots down the moon as well, but also this fails to impress the cool blonde. Angered by her indifference, the Dandy destroys his whole strange world, and subsequently loses Eve. Grief about her death and despair about the Lady's rejection make him turn into a sailor again. Again, the sea is waiting for him."
http://www.ferryradax.at/film/Filmographie/Unter/7.htm

In Tokyo in 1885, Kikunosuke Onoue, the adoptive son of an important actor, discovers that he is praised for his acting only because he is his father's heir, and that the troupe complains how bad he is behind his back. The only person to talk to him honestly about his acting is Otoku, the wet-nurse of his adoptive father's child. She is fired by the family, and Kikunosuke is forbidden to see her, because of the gossip a relationship with a servant would cause. Kikunosuke falls in love with Otoku, and leaves home to try to make a living on his own merits outside Tokyo. He is eventually joined by Otoku, who encourages him to become a famous actor to regain the recognition of his family.

When Cheryl and her roommate quarrel, Cheryl moves into her aunt's skid-row hotel in downtown L.A. rather than return home to Ohio. The lodgers are odd, Aunt Martha is a moralizer obsessed with funerals, murder is afoot, and the inexperienced and trusting Cheryl may be the next victim. She wants to be treated like a woman, and she's drawn to George, a handsome photographer who longs for human contact but sleeps with a water-inflated doll and spies on Cheryl as she bathes. Jeff, a neighborhood clerk, may be Cheryl's only ally in what she doesn't realize is a perilous residence haunted by family secrets. And, what happened to Alice, a model who used to have Cheryl's room?

A GREAT hybrid exploitation / black comedy. Imdb lists it as a horror / comedy but the horror part might be deceiving. Very reminiscent of early de Palma (sisters, phantom of the paradise) with it's voyeuristic, psycho-sexual themes as well as the abrupt violence and blood. The ending is great and very 70's tongue-in-cheek and disturbing! Not to be missed!

Estate violenta (U.S. title: Violent Summer) is a 1959 Italian award winning black-and-white drama film directed by Valerio Zurlini, depicting a love affair between a young draft-dodging son of a prominent Fascist, portrayed by Jean Louis Trintignant, and a navy officer's widow older than he, portrayed by Eleonora Rossi Drago. It is set in Italian seaside resort Riccione in July 1943, around the time of the dismissal of Benito Mussolini during the Allied invasion of Sicily in World War II. Estate violenta is Zurlini's second feature film, with which he made his name as film director.(http://en.wikipedia.org)

Head of the Dervish islamic sect is deeply affected by the arrest and execution of his innocent brother. Repaying with evil, the dervish manages to destroy governing people and, believing in justice, takes over the governing by himself. But the old government, with changed persons but not spirit of governing, will crush his illusions and himself as a man.

Bruno Hamel is a thirty eight year old surgeon. He lives in Drummondville with his wife Sylvie, and their eight year-old daughter Jasmine. Like many happy people, he is leading an uneventful life until a beautiful fall afternoon, when his daughter is raped and murdered. From then on, the world of the Hamel family collapses. When the murderer is arrested, a terrible project germinates in Bruno\'s darkened mind. He plans to capture the "monster" and make him pay for his crime. The day the murderer appears in Court, Hamel, who had prepared his plan in great detail, kidnaps the monster and later sends the police a brief message stating that the rapist and murderer of his daughter was going to be tortured for 7 days and then executed. Once this task accomplished, he will then give himself up.

"On the run from an asylum for the insane, a feisty young girl and a forlorn female companion embark on a surreal journey with a group of traveling erotic dancers. Wandering from the fantastic to the farcical and back again, The Escapees contains all the magic and fairy-tale qualities of cult films like Fascination (1979) and Requiem for a Vampire (1971) and has everything one expects from a Rollin film, including two beautiful young women, startling scenes of death, burlesque shows in a junkyard and erotic lesbian encounters with Brigitte Lahaie!" - From the Redemption DVD.

During a season of intensifying relations between the United States and Iran, Sam Ali Kashani returned to his family’s homeland during the summer of 2007. Like the majority of Iranian-American families that ultimately settled in California, Sam’s family came to the United States after the Islamic Revolution in 1979. Sam, however, was thoroughly American, leading a lifestyle typical of any young Californian. Therefore, his perspective of Iran was much like most Americans, colored by skewed media portrayals and political constructions. Yet, the Tehran he observed upon his arrival was anything but what he had seen on the television: the bustling, modern city squares; the influence of Western culture on the adolescents and young professionals, and the vibrant calls for social reform. Tehran: Another Side is a tale of the dynamic city from the eyes of one Iranian-American, which strips the camera from political filtering and humanizes its people with sincerity and honesty.

Upon his return to Los Angeles from his first trip to Tehran, his friends were eager to hear stories and see pictures that confirmed their misconceptions and stereotypes of Tehran. While they anticipated tales about Islamic fundamentalists and images of desert traveling camels, Sam revealed sides of the city that reminded them about their typical American lives in California. Taken aback by their shock and disbelief about Iran’s normalcy, Sam resolved to piece together a living memory of his first trip back to Iran: this documentary.

While walking the streets of Tehran and commingling with its everyday citizens, Sam brings to the screen faces and stories ignored by the BBC and CNN, freely discussing politics with Iranian college students, taking in the city’s electric night life, and absorbing Tehran’s rich and celebrated history. In his personal quest for understanding, Sam also travel’s through upper Tehran where he makes friends and challenges simplistic notions about America and Americans, visits his ancestors’ burial sites, and engages the growing underground hip-hop scene sweeping through the city.

Misconceptions and stereotypes linked to Iran are held by Americans in general and Iranian-Americans alike. Through his experience, Sam hopes his documentary will serve as a provocative catalyst opening his audience’s eyes, and hearts, to a Tehran shadowed by political caricatures and ignorance.

For one Iranian-American, Tehran was a unique city that had a vibe and pace unlike any other city in the world, but its people spoke with a tone and hope much like the people of Los Angeles, Tokyo or London. There are two sides to every story, this documentary tells another side of the often misunderstood and vilified city Sam’s parents fled and his ancestors are buried under: Tehran.

Jackie Chan stars as a hot-shot lawyer hired by a Hong Kong chemical plant to dispose of opposition to their polluting ways. But when he falls for a beautiful woman out to stop the plant, Jackie is torn in a conflict of interest and asks his trusty friends Samo and Biao to help out at least until they discover the true purpose of the plant.

This innovative though uneven comedy by Yves Robert, known for his droll sense of humor, is based on a late 19th-early 20th-century illustrated book about a zany, provincial French family. The Fenouillards (Sophie Desmarets and Jean Richard are the parents, Annie Sinigalia and Marie-José Ruíz are the daughters) are shopkeepers with higher aspirations. The Monsieur wants to run for mayor of their town, but the family acknowledges he has little experience of the real world -- and so they all take off to experience it together. After starting out by getting lost, the family goes through an odyssey that takes them to Brazil, the Antarctic, and Japan in a series of episodic adventures. Director Yves Robert has tried to evoke the ambiance of the silents with slightly speeded-up action and slapstick humor.

Description: Claude Massoulier is murdered while hunting at the same place as Julien Vercel (Jean-Louis Trintignant), an estate agent who knew him and whose fingerprints are found on Massoulier's car. As the police discovers that Marie-Christine Vercel (Caroline Sihol), Julien's wife, was Massoulier's mistress, Julien is the prime suspect. But his secretary, Barbara Becker (Fanny Ardant), while not quite convinced he is innocent, defends him and leads her private investigations.
Based on the novel The Long Saturday Night, by Charles Williams, “Vivement dimanche!” (aka Confidentially Yours) is François Truffaut’s last film.

Stephane and Maxime run a well-respected violin making and repair business. When man-about-town Maxime falls in love with violin virtuoso Camille, Stephane - whose only attachment is a platonic one with a bookshop owner - takes his own interest in this new girl in Maxime's life and in her music-making. Camille gradually becomes attracted to him, but finds his cold lack of response by turns puzzling and irritating. Bit by bit the odd ménage-à-trois becomes set on a collision course.

In this English-language remake of a deconstruction in the way violence is portrayed in the media, a family settles into its vacation home, which happens to be the next stop for a pair of young, articulate, white-gloved serial killers on an excursion through the neighborhood.

In this exploration of our violent society and how depictions of violence reflect and shape our culture, a middle-class housewife Anna tells the story of how she and her husband George and their 10-year-old son Georgie submitted both physically and mentally to the torture, violence, and death foisted upon them by two young, unexpected, white-gloved visitors at their weekend vacation retreat near a lake.

Georges (Daniel Auteuil) is a successful host of a TV program about books, who lives with his wife Anne (Juliette Binoche), a book publisher, and their son Pierrot (Lester Makedonsky). The family's comfortable bourgeois life is threatened when mysterious videotapes start arriving on their doorstep. The tapes show surveillance of their home. At first they seem relatively harmless, but later videos are accompanied by crude, disturbing crayon drawings. Little by little, the tapes bring out disquieting information about events in Georges' childhood.

Immediately before a global catyclysm, Anna and her family arrive at their holiday home in the countryside only to find it is occupied by a group of complete strangers. This confrontation is just the beginning of a painful learning process, as they discover that nothing will ever be the same again.

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